Office Hours 2024-08-27

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[00:00:00] Ryan: I don't have a production camera here today. They're out on a different location shoot. Um, but when we ran through the, uh, the calibration process that you have up on office hours and like, that's exactly what I'm seeing on multiple lenses where we went through the process. And as soon as I hit save and exit, I got the yellow.

[00:00:30] Eliot: Interesting. Interesting. And then you, then you, uh, you still go over to Autoshot and hit calibrate and, and it crunches the, uh, 

[00:00:39] Ryan: I had not done that. No, I have not run a test through that without running. The calibration in Autoshot. 

[00:00:48] Eliot: Okay. 

[00:00:49] Ryan: Okay. 

[00:00:50] Eliot: Yeah. That for while we're chasing that down, I would, um, I just think for a second, what you can do is, um, you know, load up [00:01:00] and just that kind of load each individual calibration, you know, with, uh, you know, the pick, pick, you know, that you've already, you've already calibrated and then have Autoshot running and, uh, and, you know, punching the sensor with and hit calibrate and go through them.

[00:01:11] Eliot: And that way you should be, we can actually verify actually, if you want a, uh, we can go through this and show you. Uh, we can verify that it's generating that we can just look at the files, you know, the files app. And that way we can verify that the, uh, it is generated. So I'm scratching my head on that myself a little bit and, uh, check with Greg, we'll have to track it down.

[00:01:30] Eliot: I said, we're waiting for the solve thing to appear. He's like, yeah, let's figure out what's going on there. So, uh, I mean, do you want to fire it up and we'll just go through, go through your calibrations and solve them and, uh, just make sure that you've got the solve files. That way we can solve file and verify it.

[00:01:48] Ryan: Trying to think if I have anything that would actually be beneficial currently. Um, there's part of me that thinks I might not, it's been, it's been testing [00:02:00] phase and I don't know what I've kept and haven't kept because it's like, once something went weird, I was like, okay, don't worry about that. Move on to the next one.

[00:02:07] Ryan: Um, but you know, knock on wood, like so far. Every time I've gone through, like what we'll call the correct steps, everything has worked just fine. It's just, I, I calibrated a lens. So we were testing on the 35, which is the one that we did together. Um, and I think we were at like 0. 3 pixels convergence, something like that.

[00:02:30] Eliot: Yeah. 

[00:02:31] Ryan: I did another one on a 24. So we just, it was on a zoom lens. So we just zoomed out to 24. I recalibrated the lens. And that's when I first noticed it where I was like, Oh, I have a yellow bar here already. Interesting. Um, but yeah, it was a different lens. I never ran a shot through the 24 in Autoshot.

[00:02:52] Ryan: I had just, it was like, Oh, we have, you know, it's live tracking, everything looked right in the interface. I was like, tracking's working. We're like, I know that we [00:03:00] can get, um, I was trying to template where I was shooting to do camera or lens calibration so that I could replicate it quickly with other lenses.

[00:03:09] Ryan: And, um, the spot that I chose on the backside of our wall has a big brick wall with furniture and multi tiers. And I was getting. A hundred to 270 matching tracking points. I'm like, okay, this is great. Like this is perfect. This shouldn't have any issue calibrating a lens. So, um, that's kind of where I'm at.

[00:03:28] Ryan: I don't, I'm just going to take a look here at Jetset and see if I have. Um, shots are actually available and see if I have any Cine takes actually in this project. 

[00:03:40] Eliot: And even if you don't have Cine takes, what we can go through is go through the different calibrations and then pull up Autoshot and just calibrate each one of them.

[00:03:47] Eliot: And then what we will do is just, we'll look in your iOS files app and just make sure they've got the, the, the solve files. Uh, it's cause all it's just doing, it's going to write out a JSON text files, just look at it. Yeah, that's, that's just how it works. So if [00:04:00] I just share my screen, you can 

[00:04:01] Ryan: walk me through that.

[00:04:01] Eliot: Yep. Absolutely. 

[00:04:03] Ryan: Awesome. 

[00:04:05] Eliot: Yeah. We try to keep all the individual steps concrete and simple and embedded in text files. Awesome. 

[00:04:13] Ryan: All right. Uh, let's see if I can get jets connected here. Should come up right away. There we go.

[00:04:26] Ryan: Calibration.

[00:04:31] Eliot: Yeah. Okay. So let's see. And what we've got, there's a project name, the Jetset folder. Um, and then let's load up one of your calibrations Let's see if it's gonna,

[00:04:49] Eliot: do you have a, do you have a calibration loaded in JetSet right now or? 

[00:04:53] Ryan: Um, nope. Uh, let me just, I, I was testing our, uh, an updated asset here, so I had to turn [00:05:00] off our Cine Lens. Oh yeah, no worries. Um, okay, so let's just do the 24 that, This is the last one that I did, um, might have to refresh, refresh here.

[00:05:15] Ryan: There we go. There we go. And let's see here. I was on, what camera did I use? I had the 200. So that's a 24. 6 sensor. And that would have been, 

[00:05:27] Eliot: is that it right? Yes. Calibrate. Calibrate. 24. Yep. Pull the data over. So

[00:05:51] Eliot: much number crunching. Okay. 

[00:05:54] Ryan: It's impressive. The first time I showed her a DP, this is like, well, it's not really a simple app, is it? I was like, no, there's a [00:06:00] lot going on in here.

[00:06:04] Eliot: Yeah. Yeah. It's, it's, it's optics. We have to, we have to Resolve where things are with respect to each other accurately in time and space. So it's, yeah, 

[00:06:14] Ryan: well, I. It's great seeing, uh, some, uh, some new posts in the forum of people that have finished products and stuff and they're that, that music video one was great to see, like a lot going on in here and I'm glad it was successful for them.

[00:06:26] Eliot: Yeah. Yeah. I'd say that's, that's fantastic. That's fantastic. I want people to get reps in, you know, so they, they get used to operating it. And, uh, Yeah. That's once you see the, all right. Okay. So that's weird. Alibration solve error, pushing calibration to Jetset. Oh, wait, what's the,

[00:06:48] Eliot: wait a second. What can you, um, let's take a look at your Jetset. I'm gonna make sure you're on, on an updated version of that. Uh, that's an error we get when we were running an old Jetset. Um, so let's see, I'll pop it in QR [00:07:00] code. Yeah. Settings and support. And let's see.

[00:07:07] Ryan: Is it under settings? 

[00:07:09] Eliot: Yeah, 

[00:07:10] Ryan: settings, uh, let me check on mine. All right. Version is 1. 0. 113. Oh, 

[00:07:17] Eliot: um, I think you are, I think that is a bit way back. Let me check on mine. Yeah, mine is running at, uh, that could be the answer. What's going on? Um,

[00:07:38] Eliot: quick settings.

[00:07:59] Eliot: [00:08:00] Yeah, actually it should be 1. 0. 119. Oh, I think that's the newest version. So let's, let's get you at that. There it is. That's what's going on. 

[00:08:07] Ryan: So let's just go, go to the app store and see if there's an update for it. 

[00:08:11] Eliot: Yeah, you should. I always thought the apps auto updated, but let's check on that. That's a good thing to find out.

[00:08:21] Eliot: And let me just check what build we have in the app store as well. Same time. 

[00:08:25] Ryan: Well, that sure shows an update available. 

[00:08:28] Eliot: Oh, yay. Hey, there's well, it makes sense. All right. 

[00:08:32] Ryan: All right. We're back. Uh, it's going here. Make sure it's going to ask me to go through the little setup wizard. Yeah. One, one, nine. There you go.

[00:08:42] Ryan: Cine

[00:08:47] Ryan: calibration 24. You want me to just try running this again? 

[00:08:53] Eliot: Yeah. Is it updated? 

[00:08:55] Ryan: Yep. Okay. 

[00:08:56] Eliot: Yeah. And uh, yeah, go ahead. So interestingly, 

[00:08:59] Ryan: the [00:09:00] 24 that I put on previously that was yellow is now red. 

[00:09:06] Eliot: All right. The world's making sense now. Okay. So yeah, let's just go ahead and refresh. So we get, uh, uh, uh, just reset.

[00:09:12] Eliot: Yeah. Refresh that guy's. We get all the updated info. All right. And then let's try calibrating this guy. All right.

[00:09:28] Ryan: I think one thing that'd be really helpful on the, uh, the download section is to, to post like what the latest version is, uh, figuring out what, like, the hardest thing that I would have is like, if Autoshot tools updated, is there a way of like notifying me? That's like, you need to update your tools as well as Jetset.

[00:09:48] Ryan: Um, yeah, 

[00:09:50] Eliot: we, we'll, we'll probably, cause we have an update coming up, uh, to fix a bunch of, a bunch of details on color stuff. Um, let's see, [00:10:00] I think we, we have, we check Autoshot tools version when we just start up auto, uh, Autoshot and it'll print out, Hey, you need to update, but you would need to look in the console.

[00:10:08] Eliot: Like over time, I want to have things be a little more obvious than a line in the console text. But, uh, I think, I think we actually already verify the version. There we go. Rig bundle. That's pretty cool.

[00:10:20] Eliot: Hey, there we go. Calibration pushed a Jetset. So let's take a look at 

[00:10:28] Ryan: in that. Yep. And I have an orange reticule around my 24 mil lens. 

[00:10:33] Eliot: Uh, you mean, uh, hopefully yellowish or? 

[00:10:36] Ryan: Oh, yeah. Sorry. Yellow. Yep. 

[00:10:38] Eliot: Okay. Yay. Yay. All right. The world makes sense. Let's go through your other calibrations. Uh, and, uh, that looks like, looks like, uh, okay.

[00:10:50] Eliot: Looks like, uh, 

[00:10:51] Ryan: Oh, yeah. So I got to change that on the phone first. Or on the, Yeah. Yep. 

[00:10:56] Eliot: Yeah, just refresh, change it on the phone, refresh, and I'll just go through [00:11:00] and crunch all your calibrations to make sure they're good. 

[00:11:04] Ryan: Unfortunately, I'm going to have to do more calibrations on the day of the shoot. We just, I was just testing what I had available to me, so.

[00:11:11] Eliot: Of course. Of course. But I'm very hopeful 

[00:11:14] Ryan: that this process. If they all comes out, it's like, I did the exact same thing for the same. I mean, I shot the exact same location, same format, everything, um, to get this to come out. So I think as long as we get these next two to come back, I'm safe to say, I think I can calibrate just about anything that we, you 

[00:11:34] Eliot: That's great.

[00:11:36] Eliot: That's exactly what happens. You're like, Oh, we have a plan. And then like, Oh, I brought along these last few lenses that like nobody told you about. And exactly do it. And it'd be great to do, uh, if you could do at some point, shoot a test tape. Cause that's. We want to do the calibrations. And then the final proof is like, you run a test, test shot with it and things line up and, you know, do the, everything that is expected to do.[00:12:00] 

[00:12:00] Eliot: Yeah, that was 

[00:12:01] Ryan: my goal was before we start shooting anything, it's like run, run one, take through blender and just be like, yep, everything's aligned. Everything's there, the, um, Love it. The scale of the scene is lining up the way we expect it to, all of that. 

[00:12:16] Eliot: If I could replicate that, that, uh, behavior and paste it onto every production we encounter, I would do so.

[00:12:23] Eliot: What 

[00:12:24] Ryan: do we got? 0. 3 convergence on that one, which is pretty good. There we go. 

[00:12:30] Eliot: And let's go to the, so there was one more that you'd calibrated. 

[00:12:33] Ryan: Yeah. 

[00:12:34] Eliot: So the 24, 36 or yeah, 35. And I did an 80 

[00:12:38] Ryan: just to push the limits of what we could do. All 

[00:12:40] Eliot: right. Let's see where we're going to be at.

[00:12:46] Eliot: I forgot to even look at what focal length it told us, uh, cause it'll print out the cocktail. was like 

[00:12:52] Ryan: 20, 20, the 24 was like 22. 8. I think. Great. Something close to that. [00:13:00] The 35, I think was like a 32 point something. Great. 

[00:13:06] Eliot: Yeah. Things that make sense.

[00:13:12] Ryan: This one I actually didn't do in the same spot as the other two. So if we do get really strange results, I'll, we'll know why, because I shot it, I actually shot it in the same location. We did originally that 35, um, that I did live on here.

[00:13:34] Ryan: And we just figured out the origin offsets. I was actually just working on that before I jumped on the call here. So we got that all working out. We got the vertical marker, um, aligned with our scene. Um, excellent, 

[00:13:45] Eliot: excellent. Excellent. All right, there we go. 

[00:13:49] Ryan: Not bad. Pretty good. 

[00:13:52] Eliot: That looks pretty good. And it's really small, 

[00:13:54] Ryan: but it's there.

[00:13:56] Eliot: Solved on the 76. 39 millimeters. Okay. That sounds pretty [00:14:00] close. All right. 

[00:14:04] Ryan: That's really funny how, yeah, it's going to be like a small, it's, it's tiny on there, but Hey, it's still working 

[00:14:11] Eliot: at some point, we'll add something to kind of blow that up a little bit. So it's easier to see on the, on the long, long lenses because it gets a little ridiculous at a certain point.

[00:14:20] Eliot: The fact that it's solving is, it makes me happy. Yeah, 

[00:14:23] Ryan: me too. I feel a lot better about all of this. And as soon as I get a production camera here, I can run through a test and make sure everything else is running through. The fact that these three all came out successful and I'm feeling really good about where we're at and 

[00:14:37] Eliot: Fantastic.

[00:14:38] Eliot: I'm just so glad you you called and we figured out the version thing. Yeah, that's great That's and actually what I when I actually I may see Uh, check with Greg to see if there's a way we can actually check when auto, when Autoshot, when you're hooked up to jets. I mean, I suppose you can just set it on automatic update.

[00:14:57] Eliot: Um, I would just be, it'd be interesting to, I'll ask [00:15:00] him if there's some smart way to, to verify that people are on the most recent builds. I'll 

[00:15:05] Ryan: give you a little, little walk to our set that we got here just so you can see what we're looking at. Oh yeah. 

[00:15:11] Eliot: Yeah. Unpin your 

[00:15:12] Ryan: There's our, this is basically it.

[00:15:14] Ryan: It's going to be a marker and a kind of a semi sweep green screen and 

[00:15:20] Eliot: All 

[00:15:20] Ryan: right. That's perfect. That'll 

[00:15:22] Eliot: be 

[00:15:22] Ryan: it. 

[00:15:24] Eliot: That's perfect. That's, that to me is, is, uh It means you actually get it done, you know, you're trying to aim for the giant led wall. It's very much, much harder to get the production together.

[00:15:36] Ryan: Yeah. I mean, it's, uh, we're, we're leaps and bounds further than what we used to do for this type of setup. It was just shoot the camera. We'll figure out where the background goes after, take a lot of measurements on set. So I'm hoping we'll help, uh, tie all that together and. 

[00:15:53] Eliot: Oh, that's exciting. That's really exciting.

[00:15:56] Ryan: I will certainly update on the, uh, the forums with my, uh, my [00:16:00] successes and show what we 

[00:16:02] Eliot: worked on. Remind me on the pipeline. So what's the 3D system you're using? 

[00:16:06] Ryan: So we, the, the models come from Cinema 4D. 

[00:16:09] Eliot: Oh, 

[00:16:09] Ryan: that's right. That's right. We pipe that into Omniverse to get the textures to come out. 

[00:16:13] Eliot: Mm hmm.

[00:16:14] Eliot: From 

[00:16:14] Ryan: Omniverse, it goes into Autoshot, Autoshot into, um, Jetset. Jetset. Um, then we went, we had a back and forth process of like re exporting from cinema and updating the, um, omniverse scene to move locations where the chairs would be and, um, origin. Um, currently I'm only using one origin point. And then that semi circle that we have, it's just offsetting from that origin.

[00:16:40] Ryan: I tried getting it where it'd be like our left camera would be the left, um, like scene look left and then scene look right. Um, But I always had to come back to the middle to get that reorientation screen. And I was like, well, just let's just tie everything off the origins. No matter where we back off from, that's what we're looking at.

[00:16:59] Ryan: And that [00:17:00] on all the tests so far, that's worked really well. Like it all, the tracking stays where it's supposed to, the people are lining up in the seats where they're supposed to be. That makes sense. 

[00:17:08] Eliot: So the locators are more of, if you have like a really large scene and you're trying to pick, we move in all sorts of different, different areas.

[00:17:15] Eliot: Or if you're trying to. Uh, attach something very specific, like somebody sitting on a tabletop or something. You want them to be pinned exactly to that tabletop, but yeah, that makes sense. 

[00:17:24] Ryan: We found out through like, through trial and error, we found out keeping this, the actual floor and the CG floor at zero.

[00:17:33] Ryan: Cause the actual set itself that we built is not at zero. And we found out after testing, it's like, just make the ground, be the ground. And then everything else will just fall into place. And that it made everything so much easier to like, when we're talking back and forth between 3d and production, it'd just be like, move it left.

[00:17:49] Ryan: Well, do you want it left and down? Do you want it left and up? It's like, move it left. Um, so 

[00:17:56] Eliot: yeah, this is great. This is great. Well, and we're shooting. 

[00:17:59] Ryan: [00:18:00] We're shooting with the C 200. Um, I basically, I create, um, a proxy from that cinema or from that, um, cinema raw, um, log raw file from Canon use that as the source for Jetset, run the take through Jetset, um, with the offsets from, um, Resolve.

[00:18:21] Ryan: So I'm just working from the raw files. I get my input and output run that through, um, Through Jetset, essentially just rendering the camera that spit out from the others from Cinema 4D, and then aligning that to the original raw footage that's in my timeline already, um, and compositing from there. I, I would like to figure out a, a faster way for me personally to get into, um, The standalone Fusion, but right now it's working right now.

[00:18:51] Ryan: And, um, in Resolve. So I'm just going to kind of keep it there unless I, like, I'll just make a new shop folder and be like, okay, now I'm pushing this standalone [00:19:00] and I'll deal with it in there. 

[00:19:02] Eliot: Yeah. Yeah. I'm working toward, um, getting the, getting the standalone stuff to work as well. I don't have it yet. I mean, I've got the standalone version.

[00:19:09] Eliot: But I'm going to have to rewrite some of the code to make it because the way the loaders work inside Resolve is different than the way I load it, so I'll get it, but it's going to take a little while to pound through the details 

[00:19:19] Ryan: of 

[00:19:19] Eliot: it. 

[00:19:19] Ryan: And then I have not yet, I haven't been able to test this yet, but in theory, I'm going to go through and, um, use Jetset takes, um, I always forget what you call that in here.

[00:19:31] Ryan: It's, um, Source matches. Oh yeah. Yeah. Yeah. Spreadsheet paste that into the actual takes of the day so that I actually have like a working correspondence between it and metadata. And then I can essentially, I'm trying to get around, like not being able to process my actual raw footage through auto sector currently.

[00:19:53] Ryan: And I'm just letting Autoshot do what it needs to. And then I'm stealing the data that I need to, to complete the shot. 

[00:19:58] Eliot: Right. Right. [00:20:00] You, the one thing I'll, I'll tell you that you might run into is, um, uh, and I think actually it's, it's the right approach. You might run into things where if you're using the media in node, uh, inside was inside the Resolve Fusion.

[00:20:12] Eliot: My experience is that tends to break a lot. Like it's really fast. I have to. So, you know, you might want to write out, um, you know, get your in and out points of a clip right out in the EXR sequence. Um, and then bring that in as a loader into that, into that particular Fusion and they're at that Resolve Fusion, you know, uh, comp for that clip and then it'll be reliable when you, when you're just dealing with the loaders, everything works, everything works, but man, that media unknown bit me so many times until I learned that was, what was the problem, which, you know, it doesn't make, that makes sense.

[00:20:44] Eliot: Like the part that's like. 15 years old is the EXR loaders and part that's not is the media. So it may be better, but I, in case you have, you know, you go, wait, this comp was just working like 25 seconds ago and just stops working. Then that's, that's your [00:21:00] culprit. Um, and I contacted Canon and we're asking for the, the SDK.

[00:21:04] Ryan: Yeah. I mean, I've even run into stuff with like the conversions inside of Resolve with them. Like I have, I have a bunch of threads on the Resolve forums of like, I can't separate my gamma from my gamut for the raw. So it's like, right. Sometimes there's just quirks and usually you can get around it, but yeah, they're, they tend to be a little slow on, uh, The updating side, we're, we're getting there, 

[00:21:27] Eliot: we're getting there, but I, I, I, I feel it.

[00:21:29] Eliot: And then, then as soon as we can get code access, then, then we can just do it. You know, generate the EXRs to all that. That's, you know, so, um, Oh, this is exciting. This is super. Well, you know, let me know how, uh, and again, if, if you're, if you're jump running into weird stuff, you know, ping us, um, and, uh, and let me know.

[00:21:49] Eliot: And, uh, and that's, I just, let me give you a. Uh, put myself in case you need it. 

[00:21:57] Ryan: Thanks. 

[00:21:58] Eliot: Yeah. And so, [00:22:00] but yeah, just, you know, we want, we want everybody to, to have it work and, and they have things make sense and stuff. It looks like you guys are real, real well set up. You're doing a good job of testing and verifying all the different, different pieces of it.

[00:22:13] Eliot: Uh, 

[00:22:13] Ryan: most, most of the stuff for like the testing on my end, it's like, I'm trying to break it so that if it does, it's like, okay, I need to troubleshoot this now, how do I troubleshoot it? Um, That seems to be a good approach for me. 

[00:22:28] Eliot: No, it's great. It's just, it's just great. And you're, you're trying every again, you're, you're trying everything early enough so that we can have a call and figure out what, what was going, you know, something was weird, like, Oh, that's what was, you know, figure it out and, uh, and, and move, move along.

[00:22:42] Eliot: And I still 

[00:22:43] Ryan: think if there's any way that we can do the. Not extracting files on Jetset Cine. I think like for my workflow right now would be probably four times as fast to just be able to spit out a camera to cinema. 

[00:22:59] Eliot: [00:23:00] Can you say that again? I just want to understand fully with that, with that. 

[00:23:02] Ryan: Yep. So when the last time we talked about it, you said that it, like, it would add too many conditionals of like not having files available, but when.

[00:23:12] Ryan: Essentially, it'd be running Jetset Cine the same way Jetset without Cine would work, where you can just use, instead of extracted PNGs, I could just say use original footage. Oh, that's right. Because I don't need, I don't need to process more footage because, and part of it, part of it is just the, um, I have to process frames outside of Autoshot currently already.

[00:23:35] Ryan: So I'm just generating data that I don't need. Like that process is like, I don't need these files. I'm not going to ever use these files that are actually through the pipeline. Right, right, right, right, right, right. So it's right now it works. Like the more I've used the system, it's like, I understand what's happening now.

[00:23:53] Ryan: And like. Why all of it is so convenient when it's working the way it does. Cause it's like your files are [00:24:00] already imported into your 3d application. The scan is already there. Like all of the, all of the steps and pieces, once you run it through here and it's successful, it's like, well, everything's in place.

[00:24:09] Ryan: Like I don't have to do anything. The, the downside to it is, is when we have a situation like mine where I, I can't run it through the pipe pipeline the way I want to currently because of the SDKs and all that. It's like, I'm just generating more data and then backtracking what I can actually delete and replace with.

[00:24:26] Eliot: Right. Right. Whereas if I do 

[00:24:28] Ryan: a, if I do an extract PNG or EXRs, which I think I'm going to do, cause I think what I like, what you were saying is using the media ins instead of that, I would just create a new EXR. File from my shot and place it where the files are and just delete the ones that Autoshot is creating.

[00:24:48] Eliot: Yeah. A 

[00:24:49] Ryan: EXRs to be created, which isn't, I mean, in the, at the end of the day, that's not a very long process compared to everything else that needs to be done. 

[00:24:58] Eliot: Yeah, yeah. For an [00:25:00] individual shot, you have, you're getting 300 frames of, of, of a shot or 400 frames or something like that. And it takes, you know, it takes a minute to crunch it then.

[00:25:07] Eliot: Okay. Yeah. Okay. So this, and, and the key on this one is that you have an, another person somewhere that is, uh, doing what you'd like to have do a 3d render. Did, did I get that right? Yeah, correct. Yep. Yep. That's. So we, that is really good to understand. Um, I remember that. Yeah. 

[00:25:28] Ryan: What we've actually done and has worked quite well is not use any of the calibration process and just say, shoot on Jetset without a Cine calibration lens.

[00:25:38] Ryan: Same origin, same setup. It's on the camera, but we're just shooting with Jetset, not Cine. And just sending that, um, through Autoshot with the original file and then just sending the, um, the Python code to our 3d guy. Then he'll like, I mean, it's not one-to-one like it is on the syn camera, but he'll [00:26:00] just adjust it to make the shot make sense in his end.

[00:26:03] Ryan: Mm-Hmm. render that, send us back a frame and then we do a temp comp here and it's like, it's worked pretty well where it's like, I see we're on an 80 mil lens right now. He knows exactly where it's pointed. It's just, he might actually have to move in his scene, you know? I see. Six inches. I see. So it's to get that aligned, 

[00:26:20] Eliot: it's not a post-production thing, it's, it's like a production, what it looks like in production sort of thing.

[00:26:25] Ryan: Right, right. 

[00:26:27] Eliot: Yeah, we want, Oh man, I want to get a workflow for this and I have to, I'm gonna have to think, think on it. 

[00:26:33] Ryan: Well, one of the things, what we came up with, and this is, it was a little outside of the scope for this project. Um, But now that we've like, I've gotten this far with it. The next step would be using the live link inside of, um, um, unreal.

[00:26:48] Ryan: And that's essentially the same workflow. It's just, instead of that background being rendered in cinema, it's being rendered in unreal, but then it would be live. Like he could literally move an asset and then that asset would move. On [00:27:00] set, like we'd be looking through Jetset and we can see that asset moving as we update.

[00:27:04] Eliot: Yeah, yeah. Then, then it's, then it's a, then it's a live link and That's right. We, we just finished our unreal, you know, check all the box. It took much more time than I ever wanted to imagine to, to 

[00:27:16] Ryan: get, I know I've watched some of the tutorials. I was like, wow, this is really in depth to get this camera in here,

[00:27:21] Eliot: Yeah. Well, I mean, and that was. You know, our version is like the, you know, 16 minute, like does just does the, the exact things you need. But the, there was a lot of information assimilation before we got it. Cause there's so many things out there and they're all just going in 20 different directions. And you're like, no, no, no.

[00:27:38] Eliot: We want to start off with our known kind of simple thing. And anyway, we got it. So you can do it. And in fact, depending on what you're doing, we have a live link data into Blender as well. Um, so we can, you can drive and then it's, it's, you know, it's, it's in the, it's in the, the plugin. I haven't done a tutorial for it, but if literally if you have live data coming out of Jetset and you, you know, have it, you're seeing a [00:28:00] blender, you hit, uh, hit the button of like taking the data and bang, your camera's going to start moving around.

[00:28:04] Eliot: Um, and so that's 

[00:28:05] Ryan: good to know. So that might just be enough for us. The, the more we've learned of both, um, USD and cinema 40, it's not really up to snuff yet. It's a pretty basic version of it in there right now. It's a little frustrating to work with, but we'll get there. 

[00:28:22] Eliot: Yeah. Yeah. And, and, you know, once, if he's already become really good at Cinema 4D, then, then, you know, he can, he can switch around and try different, different, different tools to see if they fit, you know, see what, see what makes sense.

[00:28:34] Ryan: I mean, the, you know, the, the, the dream round trip for us with this setup would be somehow tying it into Orbyx as well, um, for octane render, and then using the R and D R network render. Just like you're using for the farm for blender. So just package up your shot, send it to the farm on online, and you just pay for the shot to get rendered, um, without, you know, 

[00:28:58] Eliot: that's, that's, um, [00:29:00] we did, we did a shot wrap up thing.

[00:29:04] Eliot: We'll go export to farm thing for, for SheepIt, you know, it's a blender render farm and that was, and that's, that's, that's more straightforward. It'd be interesting. I'm just kind of thinking, thinking through, through the best ways to do this. Um, what do you, do you typically export to Orbyx from Cinema 4D?

[00:29:24] Eliot: Is that usually how you, you write out a. 

[00:29:27] Ryan: That's how you've done it in the past. They just released, um, you can actually upload Cinema 4D files directly now. So like they've, they've passed the, like the plugin now is licensed for Cinema 4D. So you can just upload your dot C4D file and it'll, you know, as long as everything's relinked, um, it'll render.

[00:29:45] Ryan: And what's nice about. The way that R and D R network works is you upload an asset once. And then if you change cameras, you don't have to upload. It's just the cameras have to be uploaded instead of the, the entire asset again. That's interesting. Yeah. So [00:30:00] it, you know, on a set, like what we're working on, it's like the set doesn't change.

[00:30:03] Ryan: That's the set. Just put all the cameras around and then render out the shots you need. 

[00:30:07] Eliot: Render everything you want and you just get them all done in a batch. Huh? Huh. Okay. I mean, I'll, 

[00:30:14] Ryan: I'll explore on, I mean, this is all stuff that like, after we shoot, I'll be exploring as well to see like what the fastest way for me to do it is.

[00:30:21] Ryan: And I'll just share my experience and. You know, that's, 

[00:30:24] Eliot: that'll be fantastic. Can just, you 

[00:30:26] Ryan: know, as much as I'm able to screen capture, um, I will, uh, might have to wait until my R and D's clear, um, or NDA is clear. Um, but you know, after that, it's like, I can share what we worked on, what we did and, um, you know, hopefully we can come up with a solution or at least you guys can see, like, this is how we're using it.

[00:30:46] Ryan: If there's anything, any tool that would be beneficial, um, to do that. Cause I think there's a lot of. I'll call like design companies that use Cinema 4D and if they could add this to the arsenal and it's like an [00:31:00] Button solution for them. It could be pretty huge for um the workflow, 

[00:31:06] Eliot: especially that in octane That was that's the combo that that shows up a lot.

[00:31:10] Eliot: Um, you get these beautiful renders out of it. Um, What does Cinema 4D have any sort of live input? Right. I don't know if I've ever seen that 

[00:31:21] Ryan: there. The only thing I'm aware of is there was a, um, there was a company back, it was, it's going on 10 years, I'm guessing, but, um, I think it was called grip tools was the name of the company.

[00:31:35] Ryan: And they would have like, you could put like joystick inputs in there, like flight simulator joystick inputs into it. I'm trying to think what else they had. And they had other things that you could control cinema with.

[00:31:52] Ryan: Oh, cause I would like, what I always wanted was to be able to take essentially like what you're doing with Jetset is like, just connect. I've done it in unreal. And it's, it's [00:32:00] phenomenal for like idea generating where it's like, just give me the location of my camera. And now I have a CG set in front of me and I can just do this, 

[00:32:07] Eliot: right?

[00:32:08] Eliot: Play around. Yeah. 

[00:32:09] Ryan: Yeah. And you know, some of those tools. Become really invaluable, especially in unreal, where even if it's just like, if I'm doing like a motion graphics thing, and it's not even a like real 3d set, I can transition to things. And then you just decimate key frames. So it gets smoother and smoother.

[00:32:24] Ryan: So now this moves is now super smooth, like a Dolly would have been right. 

[00:32:28] Eliot: Right. 

[00:32:30] Ryan: And I know a blender has, I've done it in blender as well as just like, Look through the view camera and record my key frames as I'm looking around, but I never got it working with like a phone where I was like, here's the live input and I can move around.

[00:32:43] Ryan: But if Jetset's able to do that already, that's another workflow to explore outside of just this like live compositing standpoint. 

[00:32:51] Eliot: Yeah, it's just phenomenally useful to know where you are in 3d space when you're working in 3d, right? Yeah 

[00:32:57] Ryan: And the amount of time it takes to keyframe This [00:33:00] move is ridiculous when you can just take a phone and be like, okay Now just extrapolate that over 18 feet and that's the move I want 

[00:33:07] Eliot: Well, that's that's exactly it.

[00:33:09] Eliot: I like the you know, as we look at all the different ways you can generate imagery There's the ai stuff is is certainly there's a lot of useful things. I use it a lot, but there's um, You There's an aspect of when you're, especially when you're doing things that are better done with the performance and camera moves is like that, you know, is, is like that with a bullet.

[00:33:28] Eliot: It's just so much easier to have it on a stabilizer and you just do what you want it to do. And then, and you go back, Oh, back on one, you know, Oh, then, you know, four times, you know, like, okay, now I got it. And it takes almost no time to do it with the, you know, somebody who's who's, you can record your emotions.

[00:33:42] Eliot: Um, okay. I'm going to, I'm going to think about the, the, the Cinema 4D stuff. Cause there's. That's exactly it is, is live inputs, even if it's not perfectly synchronized, because Cinema 4D won't have any sort of, you know, Unreal has like an entire internal tool system to kind of synchronize [00:34:00] data. And it's bare and we went through it.

[00:34:01] Eliot: We got it working, but it works. Um, Cinema won't have that, but if they have some sort of live input, um, it'd be interesting to understand that. 

[00:34:10] Ryan: Yeah, because I think, I mean, what would be real, what, what we find really beneficial is like, okay, this is going to be our camera move, right? Like let's just say we're on a jib or something.

[00:34:20] Ryan: Well, it just should start at the top of the jib and like, let's see what that looks like. And then we go through the process of rendering a frame, bringing this in the, um, the production data. You know, the raw file do a comp and it's like within 85 percent of what the final image is, you're looking at it right now.

[00:34:37] Ryan: And we do that in five minutes on set, like, yeah, there's some compositing that's going to happen on top of this and the edges are going to get cleaner and whatnot. But it's like, you're looking at the shot. The shot is the shot right now. We want to change it, change it now. 

[00:34:49] Eliot: Right. And 

[00:34:50] Ryan: that's what we're finding is the most beneficial.

[00:34:52] Ryan: It's like, if we're going to change something, change it now, not, Oh, we shot it. Now we want to change all this stuff. It's like, well, we just. Blue, our budget, changing all of this [00:35:00] other than making the shot better. 

[00:35:02] Eliot: Right. Right. So you can actually have the client there in the moment, seeing what's going on, what's going to go down.

[00:35:06] Eliot: And then, then that you have a one to one communications. 

[00:35:08] Ryan: Right. And kind of like what you said is like, when there's 30 people on set, the faster that can happen, the easier it is on the client to just be like, yes, I'm willing to wait so we can see the final then well, it's going to be eight minutes before we see this rendered frame.

[00:35:22] Ryan: the way it'll actually be. Eh, we'll just take your word for it. Let's just move on. You know, that, that's kind of the scenario that we run into. Right, right, right, right. Okay. Okay. Yeah. It's all exciting stuff, Elliot. This is, I'm so excited to be using this coming up here and, and being able to show off what we do with it.

[00:35:44] Eliot: It's fantastic. It's just, this is why we're doing it. I was just telling Bill, uh, it's just, I love seeing all of the, I really liked the people who are showing up, right. All the smart, interesting, creative, you know, figuring out how to do stuff. And it's just, it's really, really [00:36:00] fun to do this. Awesome. Just a great, uh, so I've 

[00:36:04] Ryan: been, I've been dreaming of your system that you made this for like 10 years.

[00:36:07] Ryan: I was like, it'll get there someday. , like, someday gonna come up with this. And again, when I first found you guys, you know what I, I think it was 12 years ago with the Light craft systems . It was like, we could get that, but I think it's overkill. And I'm like, it'll eventually get there. And it was awesome to like be, you know, scrolling.

[00:36:24] Ryan: I don't even remember how I found you guys initially, but to be like, Hey, I know that name. Like I, yeah. I went and looked it up and I'm like, Oh, it's the same company. And then saw an interview with you at one of the expos and I'm like, ah, it's the same guy. I've talked to you on the phone like 12 years ago.

[00:36:41] Eliot: Yes. Yes. Same, same, same, same people. Same, same basic concept. Far more accessible. And we're actually. We're actually looking pretty hard at, um, figuring out how to, um, how to drive a small wall actually with the phone. So it'll be [00:37:00] interesting to kind of see, um, I think there's, there's. You, the big wall stuff where you need to like synchronize 80 machines.

[00:37:07] Eliot: Now that's someone else that's, that's, that's, that's the thing. But there's a little part where you're shooting a bunch of closeups where you could wheel in like a 85 inch TV behind you and, and, or, you know, something may be slightly better, but like a small, basically a small wall or a projector or something, and I realized, you know, we have all the information we need to compute the correct frustrum.

[00:37:26] Eliot: So there's a camera moves, you know, you have to render the correct perspective in that. We can do it trivially, like just. Falling off of, uh, you know, falling off a stairway, you know, like trivially mathematically to get this right. And there's a whole category where you could see people start to punch a bunch of the, you know, knock off the closeups in camera, you know, it's boom, boom, boom, boom, boom, and then, you know, roll the TV out, do the wides, roll it in wherever you need it.

[00:37:51] Eliot: And since we've got a coordinates, you know, it's easy to set up and we can. Detect the, um, uh, the, we [00:38:00] can right now our green, we have an automatic matting green screen system. I dunno if you've played with it yet, but, Mm-Hmm. . Mm-Hmm. , it sort of works. It's, it's a little, it's a little hairy, right? Where it, it detects the vertical plane that it tries to do a, a, a, you know, perimeter where it detects the green and it kind of breaks when you have a bunch of different shades of green and we know it breaks.

[00:38:18] Eliot: And so, which is why we're, we're gonna change that to the vertical plane detection works great. We're just gonna pop a, you know, a quad on there with four points you can drag. Nice. So it just goes in the correct 3D space because it turns out for, for doing that, it's just better to have a person to drag it.

[00:38:33] Eliot: Um, yeah. But that information is exactly what we would need to do to drive like a small, a small wall, you know? Gotcha. Yeah. Very cool. And the, um, and so between that and we just added Gaussian splats, it's not, you know, so yeah, it's not gonna fit everything. 'cause you have to sit there and you know, you have to, if you have a 3D scene, you need to render like 800 images and then you train it.

[00:38:55] Eliot: But on the other hand, all of a sudden it said, and if you have a box, you [00:39:00] just wire it in and you just show it on the box. You don't, you don't need it, but there's a category of things when you're trying to run completely in the phone where it's, it's kind of transformative. You can actually get images that look pretty decent inside the phone without hauling along a 40, 90 box.

[00:39:14] Eliot: Yeah. That's awesome. Anyway, just stuff. 

[00:39:17] Ryan: I think you're on the right path on just, I mean, we talk about it all the time. Where it's like, it's only a matter of time before the phone is just what we shoot on. I mean, we don't think it's there yet, but it, I mean, three versions from now it's going to be like, I don't know.

[00:39:29] Ryan: Why are we shooting in raw on this big camera? Just use the phone. It's going to look good. 

[00:39:35] Eliot: I'm, I'm curious about that. I'm 50, 50 on that. I mean, if I think eventually, you know, and we're waiting for Apple to let us shoot raw log, et cetera, but. One of the problems with the phone is heat. Um, it's, it's, it's, it's not a camera.

[00:39:50] Eliot: You can run, you know, a big old storage back and, and a bunch of things that is a form factor of this buys you a lot more battery heat and, and [00:40:00] circuits than this. Yeah. And for category things, I think you're, I completely agree, but wow, the data coming off that 12 bit data coming flying off of a, you know, a good, you know, black magic or red or whatever it is is really good, you know, so I don't know, I, I, We just, we just are bumping into the limits of the phones pretty hard every day.

[00:40:22] Eliot: And I, I want, I want to believe that we're going to get loud footage as well, that we're going to be recording at a high bit rate without smoking the rest of the hardware to get there. Sure. Not yet, but yeah, like looking at, I think, I think we're going to be, I think city cameras are going to be, I think people are going to be shooting.

[00:40:39] Eliot: The people that really care about image quality are, and, and the lenses, especially, man, you 

[00:40:46] Ryan: can, yeah. Lenses haven't gotten cheap that much cheaper in 30 years. So 

[00:40:51] Eliot: when you want 

[00:40:51] Ryan: that look, that's what you got to spend the money on. Right. 

[00:40:56] Eliot: Oh, that's. But this is, it's great. This is exciting. So when you [00:41:00] guys are, is that shoots tomorrow?

[00:41:01] Ryan: Um, so set up is here tomorrow. We start shooting Thursday, so I'm hoping I can get one more test day and just make sure everything's working, actually have it on the camera, run through a couple of test takes. So when we roll in on Thursday, it's like everything's set up. Let's just go. 

[00:41:16] Eliot: Yeah. Boom, boom, boom.

[00:41:17] Eliot: We're ready to shoot. So that's exciting. 

[00:41:20] Ryan: Yeah. Yeah, it should be good. And. Thanks again for helping me out with the hidden setting in the settings menu. Cause I was like, I'm, I think I'm doing this right, but I cannot figure out how to get that front area to mask based on the background. And I went through everything.

[00:41:36] Ryan: I'm like, okay, like just delete everything and start over and see if that, nope, that didn't do it. Like I've, 

[00:41:42] Eliot: I've. We've had internal discussions about whether that should be enabled by on by default. And my, my instinct is yes, Greg's has been no, but you, a few more user votes and we'll, it'll be yes. 

[00:41:56] Ryan: As long as there's answers to the questions, it doesn't matter where it is.

[00:41:59] Ryan: Just as [00:42:00] long as I know where that setting is to turn on and off. I'm, I don't have an issue. So yeah, 

[00:42:05] Eliot: for our settings page is relatively simple. We're, we're trying to keep it as such. Yeah, 

[00:42:10] Ryan: absolutely. Well, awesome, Elliot. This has been great. Um, I'm excited that all three of these came through reasonably well, and it makes me feel good about on the day, actually having to calibrate lenses that I haven't been able to calibrate yet.

[00:42:23] Eliot: That's, that's perfect. That's, that's, uh, that's the. 

[00:42:27] Ryan: That's the 

[00:42:27] Eliot: reality. It's like, yeah, no problem. You just bust out whatever random ones they just threw at you and have at it. Here we go. 

[00:42:36] Ryan: And I said, worst case scenario, like there's, there's going to be a lot on this shoot that is not moving where it's like, once the camera set, it's like it stay in there for the next hour to just shoot.

[00:42:45] Ryan: You know, it's a lot of conversations, a lot of dialogue. So like once that camera set, it's like, we're just going to keep it there. And I was like, well, worst case scenario, just turn off Jetset Cine. And just shoot with Jetset. And like, I know that camera will line up regardless of whatever else fails.

[00:42:59] Ryan: It's [00:43:00] like we shot on a 70 millimeter lens and it's pointed there. I know it will work because we've tested that many times as well, where it's like, what's our worst case scenario. And I was like, here's our worst case scenario. And it's still better than what we did before this.

[00:43:16] Ryan: I think we got our bases covered for whatever we get thrown at. And hopefully we can. Hopefully we can push it a little bit. That's my goal is to get, get through everything that we actually need to shoot the way that we need to shoot it. And then be like, Hey, let's get the jib and let's do a couple of cool shots and let's push it through the pipeline and see how it goes.

[00:43:36] Ryan: Oh, fantastic. 

[00:43:38] Eliot: Fantastic. I can't wait to see it. I can't wait to see it. We're gonna, we're gonna put a new section on our, on the front page of our site, because we're starting to rack up a bunch of users are doing really cool stuff and we need to, we want to show all this stuff that's going on. You know, the, um, a couple of creative twins, uh, Munga Akili, uh, and, and as a brother down in Houston have done a whole series of music videos with this.

[00:43:58] Eliot: Uh, I think they [00:44:00] were doing that did the first music, music videos with Jetset. Um, and so they've got a whole old setup of that. They're doing this and that. The Venom commercial was great. And, you know, so there's starting to be things that are, that are, that get done. And I want to have kind of a showcase on our website.

[00:44:15] Eliot: So for awesome. 

[00:44:16] Ryan: Yeah. I love that. That's a great idea. Well, if there's anything we can contribute to help promoting Jetset, we will, because we're fans and want to keep using it and want it to keep being pushed. So. If you guys, 

[00:44:28] Eliot: I don't know if you'll have time on it, but anything where you do some sort of a, you know, a video behind the scenes or whatever, I don't know if you guys, do you all have a YouTube channel or a, um, 

[00:44:38] Ryan: we, no, we don't.

[00:44:39] Ryan: Um, we don't have one, but we've talked about it. 

[00:44:44] Eliot: Cause it's, it's so, it's interesting as we, um, you know, we've worked with a few different, different influencers and people doing stuff on YouTube. YouTube has been our friend, uh, because it's. It's, you know, I'm, I'm still figuring out Instagram, everything's so short form that it's, it's hard to get data [00:45:00] across, whereas YouTube, you can actually show something intricate and detailed, et cetera.

[00:45:04] Eliot: And that's where most of the people who are doing shooting video and end up, end up doing stuff. Um, and it works great. You know, like we, and it, and it's. People like seeing how other people put it, put a project together. I 

[00:45:18] Ryan: watch as much stuff on virtual production as I can. Cause I'm just interested in it.

[00:45:22] Ryan: Like, how would you approach it? What, what'd you run into? Like, I just, I like learning more about it and the different ways people approach it and. 

[00:45:31] Eliot: There's so much 

[00:45:31] Ryan: more to it than just point a camera at green screen and then render a background. Like there's so much more to it. 

[00:45:38] Eliot: Well, the things that are coming together are coming together in a phenomenal way for people who are visually oriented, who don't mind a little bit of computer work, who understand both what a camera needs to do, what the lights need to do and all these things, and we'll, you know, do all the stuff you're doing.

[00:45:54] Eliot: Like sit down and figure out an app and fire it up and go, go through it. But then all of a sudden you're, you're, you're shooting [00:46:00] your, your thing in a spaceship and, and you can, you know, we've got a green screen and a few chairs and, and all of a sudden you can make a really interesting production with that.

[00:46:09] Eliot: We just talked to a couple of the folks, uh, fellow who's doing his senior, senior film project down in the Philippines. And it's, again, it's, you know, it's wild. It's kind of this, uh, you know, the spacecraft and, and, you know, flights and things like that. And, and, you know, it's, it's ambitious, but I think we can, we can make it all, make it all work.

[00:46:28] Eliot: Uh, he's doing all the right things. Um, and, uh, but it's going to be wild where all of a sudden some of the student projects coming out, start to look amazing. You know, um, I, that makes me very happy.

[00:46:44] Ryan: Well, keep, keep up the good work, Elliot. Like I said, we're fans and it's awesome what you're doing. It's fun to work on. It's fun to explore and. I'm excited to see what we come up with next as well. Like, this is just the first one to like, I mean, it's, it's [00:47:00] important that it all works for us, but. You know, we're not, I don't think we're pushing it by any means of what we're trying to do.

[00:47:05] Ryan: It's a pretty, pretty straightforward shoot for us, but I'm excited to see like when we do start trying to push forward, what we can actually accomplish with it. 

[00:47:14] Eliot: Yeah. Yeah. This is, uh, it's, it's fun. Well. Post. I mean, you know, like, uh, we love hearing about it. We love seeing people. If you post some stuff on, on social media, let us know.

[00:47:25] Eliot: And we'll, we have, we have channels. It's just, man, um, I'm not great at it. I'm not, you know, like I, my, my energy ends up going into solving the technical things and putting it into, you know, tutorial forms so people can follow it and, and, you know, not get paid. 

[00:47:40] Ryan: Yeah, 

[00:47:40] Eliot: that SynthEyes one was a month and a half of me going hammer and tongs into that stuff.

[00:47:45] Eliot: And I got it. And the best thing I've heard so far is, is, uh, a guy who's, he's a stunt guy. He said, yeah, I learned how to do SynthEyes watching your tutorial. He's just tracking shots. Like, yes. You know. Love it. A month and a half of my time [00:48:00] well spent. He's just, you know, and using Jetset to set up, basically construct very elaborate stunt sequences, because he has to show, uh, you know, the directors, et cetera, what this is all going to look like.

[00:48:10] Eliot: And if the backgrounds are like doing weird stuff, and they're, you know, he's, he's doing it. Stunt stuff. He's whipping the camera around and, you know, do we have people flying through the air and this kind of stuff? So 

[00:48:20] Ryan: I think I saw that one and just put me on the list to be a part of that beta testing with the, uh, where you can mock up a scene in previs and then it would like instantly go to our production set.

[00:48:30] Ryan: Yeah. 

[00:48:32] Eliot: Yeah. The template. We're 

[00:48:33] Ryan: very interested in that as well, because ideally this would have all been figured out in pre production and then it's like, just put your camera here. That's where we're shooting. You know, 

[00:48:42] Eliot: that's, I mean, I've mentioned that to a bunch of people who work on big stuff, and everybody has the same reaction.

[00:48:51] Eliot: Is that possible? That sounds like the greatest thing ever. It would save 

[00:48:54] Ryan: so much time. Yeah, I 

[00:48:59] Eliot: You know, [00:49:00] the amount of replication of effort and stuff like that, versus being able to figure it out early on, find the sweet spots and just, you know, okay, shot one, you know, three meters over, you know, you go and, and tape it, tape it up the night before where your people are just like, all right, I'm on, I'm on one or two, boom.

[00:49:15] Eliot: You know, that's, yeah, that'd be huge. I really want that. You know, my goal is I want to be able to plan a movie, you know, I I'm down at Irvine now, right? So I guess that's because I you know, I've got little kids and stuff like that So I I my my stage days are kind of are are are behind me I want to be able to actually plan something running around my living room and with my bunny slippers Because you know you feel it right you feel that the shots work and you feel how how the things Cook together and then to actually be like, okay, this is this is how we're doing it You know where you actually have all your creative moments Where it's you and a cup of coffee and, and, and thinking, um, man, the big sets, there's no, [00:50:00] it's not 

[00:50:01] Ryan: that.

[00:50:02] Ryan: Not at all. Oh my God. Well, great. Thanks again for the help, Elliot. And, uh, I'll update you as soon as I can. And hopefully I don't have to give you a text at any point in our production and everything just goes smooth, but feel free, feel 

[00:50:17] Eliot: free production pressure is just, it's, it's its own thing. Every stress.

[00:50:22] Eliot: And everybody drops like 20 IQ points, like it's just, it's crazy. It's just the nature of it. I mean, I mean, I've told the story before, but like, you know, set of Alice in Wonderland and me and like another VFX supervisor. And then there's three of us, all of us have master's degrees in engineering, melting down mentally, trying to keep track over the 3d coordinates are from where we surveyed to this point over here, two meters up, we transform.

[00:50:46] Eliot: Nope. Nope. Can't do it. Not under that stage, stage pressure. And I got an A in linear algebra and I couldn't do it. I'm like, nope, nope. This is, this is, we, we, [00:51:00] that's, we want to build stage tools for stage tools, which is where like, you know, producers like You know, and, and make it, make it now, 

[00:51:09] Ryan: you realize I get dumber, the more you talk about time, right?

[00:51:12] Ryan: Like, right. Right. IQ goes down. The more pressure, the time gets in the way 

[00:51:20] Eliot: it gets. Let me know how it goes. I just looking forward to it. 

[00:51:26] Ryan: Awesome. Well, thanks again. Talk to you soon. Bye. 

[00:51:30] Eliot: Bye.